EDITORS’NOTE This is a revised edition of the 2nd volume of the International Dictionary of films and Filmmakers, which also includes Volume 1 Films, Volume 3, Actors and Actresses, and Volume 4, Writers and Production Artists. The book comprises more than 483 entries, consisting of a brief biography, a complete filmography, a selected bibliography of works by and about the entrant, and a critical essay written by a specialist in the field. There are 66 entrants new to this edition. Most of the entries from the previous edition have een retained here; all entries have updated filmographies and bibliographies; and many entries have updated critical essays. Since film is primarily a visual medium, the majority of entries are illustrated, either by a portrait or by a representative still from the entrant's body of work. The selection of entrants is once again based on the recommendations of the advisory board. It was not thought necessary to propose strict criteria for selection: the book is intended to represent the wide range of interests within North American, British, and West European film scholarship and criticism. The eclecticism in both the list of entrants and the critical stances of the different writers emphasizes the multifarious notions of the cinema, and indeed of the various entrants' role within it. On the vexing question of authorship in the cinema, it is to be hoped that this volume is properly seen in the context of a series which also focuses on the contribution to the cinema or actors and actresses (Volume 3), along with screenwriters, cinematographers, editors, animators opposers, and other production artists (Volume 4), as well as the individual films themselves (Volume 1) Thanks are due to the following: Nicolet V. Elert and Michael J. Tyrkus at St. James Press, for their efforts in preparing this collection for publication; Michael Najjar, for his tireless efforts in researching the entries; our advisers, for their wisdom and broad knowledge of international cinema; and our contributors, for their gracious participation. We have necessarily built upon the work of the editors who have preceded us, and we thank them for the strong foundation they created A Note on the entries Non-English language film titles are given in the original language or a transliteration of it, unless they are better known internationally by their English title. Alternate release titles in the original language(s)are found within parentheses, followed by release titles in English(American then British if there is a difference)and translations. The date of a film is understood to refer to its year of release unless stated otherwise In the list of films in each entry, information within parentheses following each film modifies, if necessary, then adds to the subjects principal function(s). The most common abbreviations used are: animator chor choreographer d director exec xecutive mus musIc ph inematographer or director of photography r role scenarist or scriptwriter The abbreviationco-preceding a function indicates collaboration with one or more persons. Other abbreviations that may be sed to clarify the nature of an individual film are" doc"documentary; anim'-animation; and"ep'-episode A name in parentheses following a film title is that of the director. A film title in boldface type indicates that complete coverage of that film may be found in the International Dictionary of Films and Filmmakers, Volume 1: Filmsvii EDITORS’ NOTE This is a revised edition of the 2nd volume of the International Dictionary of Films and Filmmakers, which also includes Volume 1, Films, Volume 3, Actors and Actresses, and Volume 4, Writers and Production Artists. The book comprises more than 483 entries, consisting of a brief biography, a complete filmography, a selected bibliography of works by and about the entrant, and a critical essay written by a specialist in the field. There are 66 entrants new to this edition. Most of the entries from the previous edition have been retained here; all entries have updated filmographies and bibliographies; and many entries have updated critical essays. Since film is primarily a visual medium, the majority of entries are illustrated, either by a portrait or by a representative still from the entrant’s body of work. The selection of entrants is once again based on the recommendations of the advisory board. It was not thought necessary to propose strict criteria for selection: the book is intended to represent the wide range of interests within North American, British, and West European film scholarship and criticism. The eclecticism in both the list of entrants and the critical stances of the different writers emphasizes the multifarious notions of the cinema, and indeed of the various entrants’ role within it. On the vexing question of authorship in the cinema, it is to be hoped that this volume is properly seen in the context of a series which also focuses on the contribution to the cinema or actors and actresses (Volume 3), along with screenwriters, cinematographers, editors, animators, composers, and other production artists (Volume 4), as well as the individual films themselves (Volume 1). Thanks are due to the following: Nicolet V. Elert and Michael J. Tyrkus at St. James Press, for their efforts in preparing this collection for publication; Michael Najjar, for his tireless efforts in researching the entries; our advisers, for their wisdom and broad knowledge of international cinema; and our contributors, for their gracious participation. We have necessarily built upon the work of the editors who have preceded us, and we thank them for the strong foundation they created. A Note on the Entries Non-English language film titles are given in the original language or a transliteration of it, unless they are better known internationally by their English title. Alternate release titles in the original language(s) are found within parentheses, followed by release titles in English (American then British if there is a difference) and translations. The date of a film is understood to refer to its year of release unless stated otherwise. In the list of films in each entry, information within parentheses following each film modifies, if necessary, then adds to the subject’s principal function(s). The most common abbreviations used are: an animator assoc associate asst assistant chor choreographer d director ed editor exec executive mus music ph cinematographer or director of photography pr producer prod des production designer ro role sc scenarist or scriptwriter The abbreviation ‘‘co-’’ preceding a function indicates collaboration with one or more persons. Other abbreviations that may be used to clarify the nature of an individual film are ‘‘doc’’—documentary; ‘‘anim’’—animation; and ‘‘ep’’—episode. A name in parentheses following a film title is that of the director. A film title in boldface type indicates that complete coverage of that film may be found in the International Dictionary of Films and Filmmakers, Volume 1: Films